Beardow, Frank. Little Vera. I.B. Tauris, 2003, pp. 72–91, http://ezproxy.library.qmul.ac.uk/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=QMUL&isbn=9780857714428&uid=^u.
Berghahn, Daniela. ‘Do the Right Thing? Female Allegories of Nation in Aleksandr Askoldov’s Komissar (USSR, 1967/87) and Konrad Wolf’s Der Geteilte Himmel (GDR, 1964): Historical Journal of Film, Radio and Television: Vol 26, No 4’. Historical Journal of Film, Radio and Television, vol. 26, no. 4, 2006, pp. 561–77, https://www-tandfonline-com.ezproxy.library.qmul.ac.uk/doi/abs/10.1080/01439680600916884.
Berry, Ellen E. ‘Grief and Simulation in Kira Muratova’s The Aesthenic Syndrome’. The Russian Review (Stanford), no. 3, 1998, https://www.jstor.org/stable/131957.
Bulgakowa, Oksana. ‘The Hydra of the Soviet Cinema: The Metamorphoses of the Soviet Film Heroine’. Red Women on the Silver Screen: Soviet Women and Cinema from the Beginning to the End of the Communist Era, Pandora, 1993.
Burns, P E. ‘An NEP Moscow Address: Abram Room’s Third Meshchanskaia (Bed and Sofa) in Historical Context’. Film & History, no. 4, Dec. 1982, https://muse.jhu.edu/article/400643.
Cheu, Hoi. Cinematic Howling : Women’s Films, Women’s Film Theories. UBC Press, 2007, https://ebookcentral-proquest-com.ezproxy.library.qmul.ac.uk/lib/gmul-ebooks/reader.action?docID=3412419&ppg=60.
Elena Monastireva-Ansdell. ‘Redressing the Commissar: Thaw Cinema Revises Soviet Structuring Myths’. The Russian Review, vol. 65, no. 2, 2006, https://www-jstor-org.ezproxy.library.qmul.ac.uk/stable/3664399?pq-origsite=summon&seq=1#metadata_info_tab_contents.
Haskell, Molly. ‘The Woman’s Film’. Feminist Film Theory: A Reader, Edinburgh University Press, 1999.
Healey, Dan. Russian Homophobia from Stalin to Sochi. Bloomsbury Academic, an imprint of Bloomsbury Publishing, 2018, pp. 131–47, http://ezproxy.library.qmul.ac.uk/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=QMUL&isbn=9781350000797&uid=^u.
Holmgren, Beth. ‘The Blue Angel and Blackface: Redeeming Entertainment in Aleksandrov’s Circus’. Russian Review, vol. 66, no. 1, Jan. 2007, https://doi.org/10.1111/j.1467-9434.2006.00427.x.
Horton, Andrew, and Mikhail Brashinsky. ‘Between Joy and Suicide: Fathers, Daughters and Little Vera’. The Russian Cinema Reader, Academic Studies Press, 2013, https://ebookcentral-proquest-com.ezproxy.library.qmul.ac.uk/lib/gmul-ebooks/reader.action?docID=3110539&ppg=103.
Kaganovsky, Lilya. ‘The Cultural Logic of Late Socialism’. The Russian Cinema Reader (Volume II, The Thaw to the Present), edited by Rimgaila Salys, Academic Studies Press, 2013, http://ezproxy.library.qmul.ac.uk/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=QMUL&isbn=9781618113764&uid=^u.
Kolbovskii, Aleksandr. ‘‘Valeriia Gai-Germanika: Everybody Dies But Me (Vse Umrut, a Ia Ostanus’, 2008)’. Kinokultura, no. 22, 2008, http://www.kinokultura.com/2008/22r-vseumrut.shtml.
Mayne, Judith. Kino and the Woman Question: Feminism and Soviet Silent Film. Ohio State University Press, pp. 110–39.
Mikhailova, Tatiana, and Mark Lipovetsky, editors. ‘Flight without Wings: The Subjectivity of a Female War Veteran in Shepit’ko’s Wings,’’. The Russian Cinema Reader (Volume II, The Thaw to the Present), Academic Studies Press, 2013, pp. 70–83, http://ezproxy.library.qmul.ac.uk/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=QMUL&isbn=9781618113764&uid=^u.
Northrop, Douglas. ‘Nationalizing Backwardness: Gender, Empire, and Uzbek Identity’. A State of Nations: Nation-Making in the Age of Lenin and Stalin, edited by Ronald Suny and Terry Martin, 2001, pp. 191–222, https://ebookcentral-proquest-com.ezproxy.library.qmul.ac.uk/lib/gmul-ebooks/reader.action?docID=430519&ppg=204.
Oudakerova, Lida. ‘A Walk Through the Ruins’. The Cinema of the Soviet Thaw: Space, Materiality, Movement, Indiana University Press, 2017, pp. 116–49, https://doi.org/10.2307/j.ctt1zxz0fb.8.
Prokhorova, Elena. ‘The Post-Utopian Body Politic’. Gender and National Identity in Twentieth-Century Russian Culture, Northern Illinois University Press, pp. 131–35.
Rachel Morley. ‘Gender Relations in the Films of Evgenii Bauer’. The Slavonic and East European Review, vol. 81, no. 1, 2003, https://www-jstor-org.ezproxy.library.qmul.ac.uk/stable/4213623?pq-origsite=summon&seq=1#metadata_info_tab_contents.
Rimgaila Salys. ‘Art Deco Aesthetics in Grigorii Aleksandrov’s “The Circus”’. The Russian Review, vol. 66, no. 1, 2007, https://www-jstor-org.ezproxy.library.qmul.ac.uk/stable/20620476?pq-origsite=summon&seq=2#metadata_info_tab_contents.
Steve Neale. ‘Masculinity as Spectacle’. Screening the Male: Exploring Masculinities in Hollywood Cinema, edited by Steve Cohan and Rae Hark, 1993, pp. 9–20, https://ebookcentral-proquest-com.ezproxy.library.qmul.ac.uk/lib/gmul-ebooks/reader.action?docID=179867&ppg=20.
Stollery, Martin. Alternative Empires: European Modernist Cinemas and Cultures of Imperialism. University of Exeter Press, 2000.
Szaniawski, Jeremi. The Cinema of Alexander Sokurov: Figures of Paradox. Columbia University Press, 2013, pp. 185–217, https://www.jstor.org/stable/10.7312/szan16734.
Taubman, Jane. Kira Muratova. I.B. Tauris, http://ezproxy.library.qmul.ac.uk/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=QMUL&isbn=9786000007812&uid=^u.
Vassilieva, Julija. ‘“Becoming-Girl” in the New Russian Cinema: Youth and Valeria Gai Germanika’s Films and Television’. Camera Obscura: Feminism, Culture, and Media Studies, vol. 29, no. 1 85, Jan. 2014, pp. 59–79, https://doi.org/10.1215/02705346-2408516.
White, Patricia. ‘Feminism in Film’. The Oxford Guide to Film Studies, Oxford University Press, 1998, http://www.loc.gov/catdir/enhancements/fy0603/97044590-t.html.
Wood, Elizabeth. The Baba and the Comrade: Gender and Politics in Revolutionary Russia. Indiana University Press, 1997, https://www-fulcrum-org.ezproxy.library.qmul.ac.uk/concern/monographs/8049g532n.
